Does My Guitar Accrete Pneuma?

It is in many ways tautological that a philosopher is not only a thinker of reality but also gradually makes reality a product of his thinking. So here we go –

I look at my guitar in the corner of the room. I am looking at it as a present-at-hand object. I really shouldn’t say object, more accurately I am looking at the guitar as a guitar. This is important for me to say this because I believe every unique (or singular) thing is not neutral but has a way of being seen imprinted on it (by this I mean simply what the thing is meant to ‘be’ or ‘do’/ the imprint of the concept/use upon the material/ the way it has been assimilated). As a philosopher of assimilation I would ask – in what way have I been assimilated to experience this specific object? I am not playing the guitar, singing love songs with it or passing the time idly with it. No, I am assimilated toward it as something to be analysed and something that is presented (the power of presentation is not dissimilar from viewing an artwork (it is of a similar assimilative structure)). Simply via visual analogy a chain of various signifiers of ‘guitar’ whiz through my head. I’ll leave it up to you to decide whether the assimilation of all these guitar signifiers have come from me (neurotic processing), the guitar (a site that activates this chain of signifieds) or whether both myself and the guitar are pawns in an assimilation unfolding (after all, I did not set my sites on the guitar and start talking about it by accident i.e it was all set-up for me in the first place and through the narrative of history). Whichever assimilation it came down to we are now experiencing an assimilation in front of our very eyes; I see different images of guitars from different points in time and areas of space. Some are from magazines, experiences, personal photographs, memories and cultural information (‘Jimi Hendrix’ etc). Most of these I have no direct relation to yet my mind watches the assimilation of them anyway, leading from one to the other simply by visual analogy, then by the analogy of what age I was, and then what city I was in. Each image wants to assimilate beyond its scope (one image wants me to start thinking about throwing T.V’s out of a hotel room (Led Zeppelin/Spinal Tap)). Each pop-culture image can only assimilate the visual qualities (as I was not there to directly interact with the material of the guitar, the tones etc). These less ‘useful’ sensations don’t need to be assimilated for the task at hand but if we were to push further than the ‘visual’ there could be a whole world of tacit and carnal assimilation relating to one another.  Proximity and size determine the visualisation of memories (as well as present assimilation’s with objects). Embodiment is crucial for determining the assimilation’s we have as humans with particular sized objects. I consider my reflections on ‘guitars’ as information; not only has this experience occurred in-formation (the subject is in-formation with the object and the images have occurred in-formation) but also the manifestation of the various ‘guitar’ images do not solely lay claim to an external object (represent it) but express much more content that that (affectivity, concepts, history).

In a neo-Hegelian manner it was probably the concepts that set-up this assimilation in the first place i.e the tautological structure of reality describes a world where human concepts and use are imposed onto ‘material’ (‘material’ is yet another tautology, so dont consider me a materialist). So what happened was that I encountered the concept of guitar in my room, and because such a concept has wide historical and accretive denotations (and that such a concept can link quite easily to other concepts such as ‘instrument’) the initial concept I encountered sparked an assimilative chain (purely by the self-negation/identity of the concept or by the production of differences that ensue).

The concept of territory (or proprietary) also comes into play when one momentarily forgets the universally commensurable world of free-floating concepts and starts to create a personal relationship with a certain object (this personal relationship seems to go beyond language games i.e ‘this is my guitar’ etc). I see an indentation where I dropped my guitar at a gig one time, I see that one string is missing, I think of all the songs I have written on it etc. Because these personal concepts can easily become assimilated into the world of free-floating concepts (that famous mark where rockstar X banged his guitar etc), because they are neither subordinate nor more important than all the other assimilative concepts, because these personal concepts do not merely represent an external object or world in their very being, they qualify as forms of information (in-formation) that accrete and soon become propelled on a new assimilative journey.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s